A Chat With Kathryn Marquet

McDonagh meets Tarantino in a biting new comedy about leading the charge for change.

Working out of a small shack in the isolated wilds of south-western Tasmania, George, an environmental scientist, is trying to save the world one Tassie Devil at a time. Since she was a small girl she has dreamt of halting the advance of climate change, but saving a species in the middle of nowhere will have to do, for now…

What have you been up to since Brisbane audiences saw Pale Blue Dot at La Boite?

Well, I’ve been acting and I’ve been writing. I was a finalist in the Queensland Premier’s Drama Award with my play, Furious Creatures.I had a small role in the feature film Don’t Tell. I went to Sydney to work on a script with Playwriting Australia. I’ve been writing Dead Devils, and I’m currently doing my masters in playwriting at UQ.

What did the success of that play mean for your change of career path?

I was certainly very grateful for that experience and I enjoyed it immensely. I learnt an immense amount about playwriting. I guess it turned me from a dabbling playwright into a professional playwright.

Do you still love performing? How did the writing become the focus? Was it always the focus?

Creative careers don’t seem to have a particularly straight-forward path. I’m still an actor. I’m also a playwright. I’m riding the wave, in terms of what work’s available. Some weeks I feel more like an actor and other weeks I’m more a writer.I acted in my first amateur play when I was nine. I wrote my first play when I was eleven. Both passions have always been in me.

Can you talk about the ways Ian Lawson and the team at Playlab supports writers and how you have come through the channels to become a published playwright? What else can writers do to get a foot in the door?

Playlab’s an amazing organisation for a city like Brisbane to have. They support writers at every stage of their career and at every point in development. I’d encourage budding playwrights to apply for the many development programs they have: from the Incubator through to the Playwright in Residence. The truth is you just have to write. The more you write, the better you’ll be. And, read. Take acting classes. Go and watch theatre. Plays are a very different medium to other writing. Ask actors to come over and read your work. Hearing it aloud is important. Keep submitting work to competitions and to various development programs. Eventually, the ball will start to roll.

What do you think of writing awards? Of Performing Arts awards generally?

Obviously, awards are always going to be at the whim of certain political agendas, whether you’re talking about the Academy Awards or a primary school performing arts award. But, I guess you take the good with the bad. Most people try to do their best and work ethically.

I think writing awards are really important for a writer’s career. They offer not just much-needed funds, but also exposure.

How much of your writing is influenced by real life events?

I’m not so interested in autobiography. My life isn’t that interesting compared to what my imagination can come up. That being said, obviously I steal a lot from real-life everyday. I steal character idiosyncrasies, funny things I hear, etc, and my writing obviously focuses on the issues I care about.

What’s your process as a writer, your typical day? Routine? What do you do to take time out, away from the world you’re building?

I tend to write in the morning. I get up early, and go and sit in a cafe for a few hours. Being freelance, I do find it hard to relax. My brain’s always ticking over. But, I enjoy being in nature and hanging out with my husband and three cats.

Can you talk about the environmental concerns and the “post-truth” state of the world, and the ways in which your writing addresses these? Is this the way to reach our public then (has it always been so) – via art rather than politics? How political do you consider your art to be?

I do think art has a part to play in manifesting change within society. By having robust conversations in a safe, communal space, I hope that change might be fostered. Culture is important for societies. We’ve known this for a long time. One of the most important things theatre can foster is empathy. When you get into someone else’s shoes, it’s easier to see multiple points of view. It’s easier to understand and have compassion. Playwrights, going right back to the Greeks, have always been interested in politics. I guess I’m less interested in politics and more interested in complex thought and a progressive society. The fact that there is still terrible violence in the world, terrible suffering, I think we need to take responsibility for that and try to eradicate it. I get frustrated by capitalism, that money is our only measurement of value. I think there must be a better way going forward.

Black comedy is an excellent genre for political writing. The writer, I guess, is presenting a series of horrific events in a way that is slightly absurd, slightly heightened. There is an irony to the work.

Black comedy isn’t didactic: it asks the audience to think for themselves. It doesn’t give easy answers. But I think comedy is the best genre to explore difficult things, particularly in the current climate.

The world’s rather concerning at the moment. We want to laugh. I guess I see the work as more Mcdonagh-esque than Tarantino-esque.

I do believe we’ve reached a crossroads in the course of human history:we can march on, spewing out buzzwords like ‘growth’ and ‘progress’, leaving the weak and silent in our wake, watching as Earth’s creatures disappear.OR, we can take a different path. Anything’s gotta be better than us all dying, right? I think the world is completely absurd, and I guess dead devils reflects that.

We’re in a burning building and we’re standing around the water coolers, looking at Facebook. I don’t really get it.

What did your research entail? Have you spent some time in Tassie? Did you snack on chicken nuggets? Will there actually be chicken nuggets on stage…at the bar?

I’ve been to Tassie twice. The second time my husband and I explored the South West, where the play is set. I worry a little about my internet-search history. It includes how to dispose of a dead body amongst many other shady things (I don’t want to give away too much).Google is an amazing thing for a writer.

I’m vegetarian, so, no, I don’t snack on chicken nuggets. I sincerely hope there won’t be any at the bar. I don’t know, after watching the show, how keen people are going to be to eat them again.

We love, love, LOVE Emily Weir (pictured below) and we can’t wait to see her in this production. Joined by John Batchelor, Julian Curtis and Kimie Tsukakoshi, this makes for a superb little cast – from the writer’s perspective, are these performers who you had imagined might bring the roles to life on stage for the first time?

I love them all too. I’m very grateful and blessed to have them. They make an amazing ensemble. I try not to get any specific actors in my head when I’m writing. I tend to think of imaginary people. I guess I tend to think about energy of people — character’s spice, if you like — rather than their specific ‘look’. I couldn’t be happier with the cast we’ve assembled. They perfectly fit their characters and are immensely talented and lovely people.

When you’re writing do any of your characters morph into people in your life, or do you begin to recognise them in the street during the creative process? During rehearsals? (Have you been present in the rehearsal room? What has that been like, as a writer rather than performer?)

I do steal from life. I steal bits and pieces but never whole people. I watch for quirkiness in behaviour or language. So my characters are often a combination of a number of people I’ve come across, as well as added imaginary elements.

I have been in the rehearsal room full time. It’s a new work, and I have so much to learn about it from watching the actors in their characters. Playwriting’s different to other writing: it’s incomplete until it’s onstage. I’ll make changes for as long as they will let me!

What do you love about Ian’s direction? What has he brought to it that surprised you / hasn’t surprised you in the least?

I’m immensely grateful to Ian. We absolutely did this as a team. He has been a wonderful support from the start. And, he challenges me to look at the world in different ways and to think about my own ideology and how it manifests within my work.Our brains work differently, and that means that we make a good ying and yang. He balances my more anarchic tendencies.

What do you love/need/live for/thrive on when living and working with like-minded creatives? What irks you?

I live for being in a rehearsal room. I’m most happy at those times. I love working in an ensemble. I love creative people. They really are the best. And, when you’re all working on bringing a project to life, there’s a wonderful sense of purpose. What irks me is that it has to end and I have to go back to freelance, which is always hard.

What have you taken from this process that will feed future work? What’s in the near future?

I’m constantly learning. I still feel like a novice. Playwriting is hard and I’ll think I’ll be learning my whole life long. I guess the biggest thing I’ve learnt on this project is how much steel is inside me. And, how much courage. I’m terrified, but I’m holding on because I believe so strongly in the work and the message of the work.

What do you hope people take away from this play?

Well, my biggest goal is to make people laugh. Going to the theatre should be joyful. An escape. It should also be cathartic. At the moment, we’re seeing real polarisation in people and the way they’re shaping their world view. Truth and facts are being sacrificed for what’s comfortable and what’s convenient. I’d love people to consider not only their relationship with the earth and its creatures, but also their relationship with other humans. I believe complex thought is important and I hope that my play encourages this.

A ghost-like vision of The Virgin Queen takes her audience on a shamelessly theatrical trip into her deep dark artistic pursuits, poems of pugs, a knack for knickers and mountains of makeup.

Emily Burton is an actress, theatre-maker, and teaching artist. Her past main stage productions include: Single Asian Female and A Midsummer Night’s Dream at La Boite Theatre Company; and The Seagull, Oedipus Doesn’t Live Here Anymore, A Tribute of Sorts at Queensland Theatre.

Since graduating from University of Southern Queensland in 2010, Emily has collaborated on numerous independent theatre projects including the multi award-winning A Tribute of Sorts, for which she won a Matilda Award for Best Actress in a Leading Role. Premiering at La Boite Theatre Company, A Tribute of Sorts was then awarded a return season at the Queensland Theatre in 2014 which boasted a second sell-out season.

Emily has toured nationally with acclaimed theatre companies, Dead Puppets Society on The Harbinger, and Grin and Tonic Theatre Troupe. Emily has worked as a teaching artist across Australia with numerous companies and organisations and has a particular passion for bringing the arts to isolated, regional areas of Australia.

Emily says ‘When you’re dealing with a character like Elizabeth I, who is so familiar to many people, the challenge becomes about finding a way of portraying her that
hasn’t been seen before. Luckily Ben and I have stumbled on a very strange version of the story, one that also humanises her in a funny way. We go to many different places and periods in the show, it’s ridiculously fun’.

How do you tackle a role such as this, one of history’s most powerful women?

The more I learn about Elizabeth I, the more I’m amazed by her contradictions, her courage, and her public vs private persona. I’d be more intimidated, I think, if I was taking on a Cate Blanchett-like interpretation of the character. The brilliant thing about working with Ben, however, is that we’re just jumping whole-heartedly into our own interpretation – which means things can get a little wild and weird. And Elizabeth I isn’t the only character we’re dealing with in this show…

What drew you to her, and to this production?

Ben came to me with a rough concept and these poems that Elizabeth I had written. We found them hilarious because some of them are so….well, awful. They reveal Elizabeth as a very normal, flawed person. You don’t often see this version of Elizabeth in the history books. That’s what started it all.

How did you prepare? (do you watch all the films or none of them?)

I watched the Blanchett films and parts of some TV shows, but what proved to be the most helpful thing was a massive collection of Elizabeth I’s prayers, poems, speeches and letters. She truly had an incredible intellect. She was writing letters in Latin at the age of twelve. When you immerse yourself in someone’s personal writing you begin to pick up unique traits. For example, I noticed she gave some people she cared about nicknames. All the nicknames are animals – Frog, Little Crow, Ape (poor soul who got given the nickname Ape!). These kinds of discoveries are absolute gold as an actor. Little clues and ideas as to how you might choose to portray them on stage.

Have you co-created and co-written with Benjamin?

Yes, this show has been a collaboration between the two of us. It’s being produced as a new work from Monsters Appear.

Are there any obvious or not so obvious parallels between women in Tudor England and now?

I imagine there’s a person far more qualified than me who’s written a PhD thesis on that topic! I certainly find that contemporary women (and men for that matter) have a lot more in common with historical figures like Elizabeth I than they might at first suspect. Elizabeth was a human (even if they thought otherwise back then – they considered her Holy).She worried about whether she was doing the right thing, she didn’t want to let anybody down, she was in love, she grieved her friends when they died – I can relate to all of that and I think audiences can too.

Are there any particular aspects of The Virgin Queen’s reigning period that you have enjoyed bringing to light?

Without giving too much away, there’s some dancing in the show that I’ve found particularly enjoyable! However, it’s probably important to note that this isn’t an historical period piece; we don’t overtly look at specific events from Elizabeth’s life. We have integrated significant elements of her life far more subtly into a new story. There are plenty of films and television out there that focuses on major events of Queen Liz as an historical figure. We didn’t want to give an audience something they’ve already seen. We hope to reveal a more vulnerable version of Elizabeth, inspired by her poetry, letters, speeches and prayers. We’ve been more drawn to the strange facts and knowledge about Elizabeth’s life like how many dogs she owned and their names, and why she owned a brooch in the shape of a frog. It’s our attempt to humanise her in a really, well, daggy, unique way. Personally, I find that appealing and she becomes far more relatable as a character on stage.

Can you talk about the style of the show?

As one might expect from Ben and myself, it is a show that will look beautiful and sound strange. We’ve created the show for touring and festivals so it’s quite stripped-back and minimalistic. The show isn’t 100% about Elizabeth I – there’s another character too, a woman from a different time, who calls upon Elizabeth I for help in a time of crisis. The show is part comedy, part tragedy, part seance.

Can you talk about your vocal work in this show?

I did a lot of research into what kind of accent Elizabeth should have. Because there is no recording of her voice, no one really knows how she sounded. This allows some freedom, but there is a tricky balance to strike – Ben and I didn’t want to pick an accent so extreme that it becomes a distraction for the audience, but you still want something that represents her status and time period. Hopefully we’ve found that balance. With a second character in the show, I’ve been working on vocal transitions between these characters quite a bit. It’s a part of my job that I find particularly fun!

What are your top tips for performers to keep a healthy voice, healthy body, healthy mind?

Well, the voice and body are relatively simple (although certainly not easy!) – eat healthy and exercise. Sleep is absolutely vital for me and is something that I think a lot of people underestimate!

Keeping a healthy mind is less simple. Mentally, spiritually, self-compassion is incredibly important. Ultimately though, my best advice for other performers would be: Don’t try to be everything, just be you. That is your strongest asset. Use it in every moment.

Can you talk about working with Benjamin Schostakowski?

It’s been a series of ongoing disasters. In the best possible way. Strangely, we both became new parents within two weeks of each other, so we have been making a new show with the added delight of raising newborns. The scheduling has been interesting to say the least. I love working with Ben. It’s rare to find a creative companion where you collaborate so easily. When we’re working together the ideas seem to bounce along and flow very easily. We have the same unusual, warped, sick sense of humour. We make each other giggle, which is fun.

What’s your favourite part of the creative and rehearsal process?

Well, usually it’s getting to work with the other actors and finding that unspoken language within an ensemble, but considering this is a one-woman show, that doesn’t really apply here! I also particularly enjoy the process of pulling a character apart and searching for all their quirks and mannerisms, then slowly building them up again. I’m a perfectionist, so I love getting down to the nitty-gritty details.

What does down time look like?

Rare, now that my husband and I have a new baby. But overall pretty normal I think. Every day usually ends with me and my husband on the couch with wine watching television! We’re watching Star Trek at the moment. Stranger Things next. Ooooo, and binging Selling Houses Australia…that’s normal, right?

Are you the person at the party who gets funnier as things get louder / quieter / later?

I’m the person who doesn’t go to the party. Or if I do, I’m with the other introverts in a corner giggling and talking about how much we’d prefer to be quietly drinking beers over some nerdy boardgames.

What’s the significance of presenting the show within Wonderland?

Wonderland’s a fantastic space for performers, and I’m really proud to be associated with a program that so strongly supports Queensland artists. That’s vitally important. There seems to be a dwindling number of roles for Brisbane/Queensland performers, so a festival that provides opportunities for us to show what we’ve got is exciting. Wonderland will be the premiere for this new Australian work. We’re planning to develop it more and tour it to festivals/other companies in the future, which is an exciting prospect.

Do you subscribe to a particular method/approach to acting?

No. Whatever works for you is the right way to do it. I do think there’s a danger in subscribing too much to one method and limiting yourself. I’ve learned a lot from my mentors that you’ve got to keep yourself open. However, having said that, I’ve studied/read nearly every acting method out there. I think it’s important to keep a wide range of tools in your toolbox, so to speak. Personally, I’ve found every show/character is different and I tend to use different methods according to what it needs.

What are your top three audition tips for actors?

When you can, read the whole play.

Learn your lines.

Don’t build your audition off what you “think” the director might want. That’s impossible to know. Build your audition as to how YOU would perform it. A director wants to see you, that’s all.

What do you love about performing?

Comedy is the best drug.

Live performance, connecting with an audience, all believing in the make-believe for a little while, is the greatest reward.

Can you tell us about your training and getting a foot in the door of a highly competitive industry? (What keeps you in it?)

I studied acting at university – and generally speaking, I still advocate for training at an institution. Mostly, for the community that it connects you with. Community is everything. Apart from that, it’s all about auditioning and saying yes. My connection with Ben came about because I did a super small reading at La Boite years ago that I just got through uni mates. Once you get a gig, be kind and be pleasant to work with. The more positive connections you make, the more work you tend to get – in saying that, I’ve just had over six months where I haven’t done much work, and you get patches where the tide goes out – but that’s true for everyone. You’ve got to find a way to be okay with that. That’s the job. It’s certainly hard, but I stay in it because I love it and I believe (perhaps rather romantically) in the power of theatre and it’s ability to move people and affect change in the world.

How do you feel about work / life balance?

It’s like a beautiful destination, always on the horizon, that I never actually arrive at. Like everyone else, I’m still figuring it out.

What would you be doing if not acting?

A psychologist, probably. Or Speech pathology. Dog groomer? Although I must say I’ve enjoyed helping to write this show and other writing I’ve done this year. Or maybe I’ll just run away and open a fruit barn, get some bees and chooks and live in the country somewhere.

How do you feel about arts awards?

They’re very nice, but not important.

What do you feel are the strengths and challenges of Brisbane’s performing arts scene?

In regards to challenges, Brisbane seems to mostly have the same challenges as the rest of Australia. Audiences are getting smaller and we need to get creative about how we solve that. I don’t think the answer is solely in getting more funding from the government. Often it feels like we look to that as the answer that will solve all our problems, but in my experience, more money doesn’t mean more work OR better quality work.

In terms of strengths, Brisbane has some of the most creative artists in the country, even in the world. As a state, we generate a LOT of new work. We’re very good at that. While we aren’t necessarily always accepted down south, (for reasons that are unknown to me) internationally, we are incredibly successful.

Brisbane Powerhouse October 7 – 14 2017

Wax Lyrical Productions bring Jason Robert Brown’s acclaimed 2001 musical, The Last Five Years, to Brisbane with a duo of music theatre heavy-weights.

It’s easy to fall in love with Kurt Phelan (Dirty Dancing) and Lizzie Moore (Kiss Me Kate) in this heart-breaking musical two-hander, as they re-trace their relationship from opposite ends. Jamie (Phelan), an up-and-coming writer, struggles to balance his sudden success with his increasingly tumultuous love life.

Meanwhile Cathy (Moore), an aspiring actress, deals with the frustrations of her own career while watching her husband from the sidelines in this story of two twenty-somethings who fall in – and out – of love over the course of a five-year relationship.

From the director and company behind the Matilda Award Winning Carrie the Musical, Wax Lyrical’s The Last Five Years is an intensely personal look at the rise and fall of a relationship told from both points of view.

Let’s just get this one out of the way…did you like the 2014 film starring Jeremy Jordan and Anna Kendrick?

Kurt: I liked it a lot. I was worried when I first heard about it and they would destroy it like they did RENT the film. But I thought it translated well and Michelle who re-choreographed Dirty Dancing for us in Australia was the choreographer.

Lizzie: I didn’t see it and by the time we found out we were doing this musical I felt like I shouldn’t. But I have seen clips for it and heard some of the tracks and I thought it was done really well but they have the advantage of being able to show two people together.

Tell us what’s a) universal and b) unique about these characters and their stories?

Kurt: everyone has been in love and everyone has had a break up. Everyone has been at fault and everyone has been hurt. And it’s also about who you resonate with and there are two sides to every story.

Lizzie: And Cathy is an actress full of self-doubt so you know…

What do you love about this show and about JRB’s work in general?

Lizzie: The music and the musical themes that continue through the show, the musical motifs.

Kurt: The man knows how to write a song. It’s also a beautiful piece that speaks to almost everyone who has ever heard it. And some of the most challenging music I have ever had to learn. So once you master it is such a joy to perform.

Any particular reasons for the super traditional wedding promo shots for the show?

Kurt: It is the only time the show is written with them in the same time and space. But we wanted to choose an image that would resonate with people, intrigue them and encourage them to find out more.

Lizzie: And reflect that it is a show about two people – love! But also, to reflect the reason they got together.

Kurt: A lot of the time when the show is done it focusses on the heartache but actually, sometimes no one is right or wrong, two people just aren’t suited to be together.

What’s the relevance/significance/urgency of staging this show this year?

Kurt: I’ve wanted to do it since it came to off-Broadway in 2002 and if I didn’t do it soon I would explode.

Lizzie: And then we had a perfect storm of both being in town and available and Zoë being available too.

Kurt: Also, all of Australia is locked into a conversation around marriage and equality and it’s important, even though this is a heterosexual couple, that people realise that love is love and everyone should have the same opportunity, even if it only lasts five years.

What do you hope audiences get from this production?

Kurt: A beautiful night in the theatre where they can marvel how simple storytelling can strike you right to the core.

Lizzie: Yeah you don’t need bells and whistles. Musical theatre can and should be really truthful.

What’s the connection between you two and how do you work together?

Kurt: Lizzie and I met in a bath tub at Lucy Durack’s surprise birthday party.

Lizzie: Kurt was wearing her novelty shower cap and we were trying to be quiet but we weren’t very good at it.

Kurt: And it’s from that moment on we were friends. It wasn’t until years later doing GAYBIES at MELT Festival, that we worked together and realised our voices blended perfectly.

What are your favourite things about working together?

Lizzie: I think it’s a really intense piece and we look after each other, on and off the stage.

Are there any infuriating things?

Kurt: Yes, Lizzie’s jaw clicks and that’s my pet hate in any human, but she can’t help it and she’s pretty, so I’m cool with that.

Lizzie: Kurt has been making out with me with a moustache but apparently he’s going to shave it so that’s OK. And Kurt and I met in a bath tub.

Is there a personal connection to the show, with the characters or the situations?

Kurt: I just got out of a five year relationship so yes, I’m equal parts Jamie and Cathy at the moment.

Lizzie: I’ve climbed many a hill before.

Kurt: I mean it’s about love, we’ve all been in situations similar to this. We both come at this show with a great depth of understanding of both sides of the story which is what makes it so interesting to work on.

We see this couple trying to mend a broken relationship for so long. What do you think makes them keep trying? What do you feel it’s worth? As a performer, how do you keep the stakes high enough to convincingly tell this story?

Kurt: through our extensive analysis of the characters we found very interesting insights to their romance and being so familiar with the story I thought it was all doom and gloom but when you unpick it, there is actually a beautiful, loving, human relationship worth hanging onto. We’re trying to highlight that as much as possible.

Away from the theatre, what tends to take you off to Kurt-land / Lizzie-land?

Kurt: I have a huge passion for wine and have been training to be a sommelier, so that helps when working with Lizzie, because she loves to drink it!

Lizzie: (While holding a glass of wine) Mmm hmm… I like cooking and gin, and I’m a small, fluffy dog enthusiast.

What made theatre your passion / preferred career?

Lizzie: If I’d be as happy doing anything else, I’d do it.

Kurt: Ditto. It’s the only thing I’m good at.

What are your favourite moments on stage so far? (in this and in previous productions)

Kurt: Getting groped by an audience member during a matinee of Dirty Dancing in Brisbane was a definite highlight…

What’s next for you two?

Kurt: I’m headed to New York to observe a few physical theatre companies and write my new cabaret, and to hopefully start the next five years…

Eleonora Ginardi chatted with Michael Beh, Director of The Curators’ Uncle Vanya, before the season finishes in Bardon, Brisbane, on Saturday.

Why did you decide to direct Uncle Vanya?

I wanted to focus on the story of these characters and the facts of what they were going through.Back in 1895 when Chekov wrote it – it’s exactly the same as today.This was about love and lost love, and going for love and the feeling of being let down by love, and what is at stake all the time when you put yourself out there.

What was your Artistic Vision?

I wanted to tighten up the play make it a little bit shorter to modernise it without taking it out of the world of Chekov and for that reason we brought it forward to the 20th Century.It’s kind of got vintage costumes from the 30s, 40s and 50s, and so it is kind of located sometime in the 20th Century, or maybe it’s just lost in the midst of time.It does not have to be what Russia was as it certainly is not styled in Russia – it’s not Russian then, but it has got a sense of being Russian.It was wonderful that we were able to get a version of Crazy by – what is her name – Patsy Cline.So we wanted a version of it to start the show. Peter met with a Russian lady in Brisbane and she translated the song into Russian and sent it to her daughter, who recorded it in New York and sent it back to us.

Well I loved it and Crazy is actually one of my favourite songs.Why did you choose that song?

The whole point is that Vanya is crazy – crazy in love, crazy out of love, shot two times, missed did not even get arrested, could not even get locked up.

So, was he crazy from the start?

No he is a man going through the feelings that so many men go through.I think maybe I go through and so many men feel let down by the choices in your life and I think that is something we can all reflect on.

Can you share some of the process that led you to making directorial choices?

Why did I make those choices,I asked, what did I give up?And because I gave that up this is how I ended.We did this wonderful exercise for a whole weekend where we work-shopped the scenes of the play.We went back and improvised we looked at the beginnings of all the stories and their characters relationships.We did “improv’ after “improv” after “improv’ that never appeared on the stage but they fed the stage.We did other things like a modern dance version one evening but all we did was a modern dance interpretation of the scenes and that really fed Sherry’s work.So we tried lots of different strategies to unlock the texts to make it not just “talking heads”. I did not want “talking heads” I wanted physical bodies and the other thing I was interested in were montages that were slowly moving, and we have two or three of those in the play where moments/time seem to stop and the moment is extended out a little bit.I wanted to make it beautiful so audiences could really experience and love the lushness of their relationship.”

I think that is a signature trait of the work you do – that lush and beauty, and aesthetic beauty in it.

A chat with the cast of Understudy Productions’ [title of show]

Hayward Street Studios August 31 – September 10 2017

We haven’t seen anyone tackle the hilarious cult hit [title of show] since Oscar in 2010 so it’s about time we saw it again. Ahead of Understudy Productions’ season, which opens next week, we chatted with the company’s founder and AD Alexander Woodward, and let the other cast members chime in…

We love [title of show]! Can you talk about the creative process, from the idea to bring a humble YouTube-Broadway surprise smash hit to Brisbane, to your independent company securing the rights to the show, to finding space and casting incredible talent, and preparing to put on a show?

Alex: Directing is Ian Good, from the UK. We originally met when he came over while I was at the Con. He’s an outstanding director who’s fallen in love with the country and I trust him more than words can express. I’m a big believer that if i’ve put somebody in a position its for a reason, and after I’ve brought somebody in I just trust and believe in that persons judgement. This is the company’s third production and so far so good, so I’m going to stick with this attitude.

Rehearsals are amazing, better than could be expected. We’ve had such a quick process I thought it would be a scramble to the line but we are a week out and still have so much time to play so I’m beyond happy.

The process? Well I’m constantly on the search for theatre to put on. I heard about title while at uni and loved the concept; it’s such a theatre lovers’ show.

Putting on theatre is HARD. It’s expensive, and risky and really hard to get right, but I love doing it. Origin Theatrical are amazing and I love dealing with Kim there. She’s a theatre lover and is always so helpful getting us independents off and running.

Tell us about Understudy Productions.

So basically Understudy Productions was formed because I thought it was crazy that people thought they had to move cities in order to be involved in professional quality work. I also thought we have so much music theatre and acting talent coming out of Brisbane, let’s use it and create some shit hot theatre. There’s no reason Brisbane can’t have an independent theatre scene like what’s seen at the Hayes, or Chapel off Chapel.

Tell us about each cast member (or they can tell us about themselves!). What drew each of you to this show?

Alex: Jackson is a stupidly good actor. I remember being at uni and thinking, yeah, this guy is going places.

Jackson: Well it’s a bloody funny show, for a start. I didn’t actually know it before I started looking up stuff when I saw the audition brief for this production, but I remember listening to the soundtrack for the first time and laughing my tits off. It’s completely ridiculous, but has a real heart to it.

Lauren: My name is Lauren McKenna. I’m a Sydney based music theatre gal who has worked in Brisbane a lot in the past couple of years. I played the double of Martha/Ms. Fleming in the smash hit Heathers which played at QPAC and have been in Harvest Rain’s latest touring Arena productions of Hairspray (Tracy) and Grease (Jan). My nine favourite things are picnics, fresh flowers, tall humans, new stationary, sleep-ins, high belt, snail mail, edamame beans and salon manicures. I was drawn to this project because some friends told me I’d love [title of show]. They were right! Also, I have a massive crush on Brisbane so any excuse to work up here I jump at!

Joel: I’m Joel and I am the Musical Director and play Larry (the unfortunate forgotten pianist) in the show.

Will you tell us your real-life vampires?

Alex: Not being good enough, not getting work, letting people down from family to friends to ticket buyers. I always think its funny that performers are often highly strung/stressed/emotional types and here we get on stage and basically say, “Please like me, and please let me invoke some form of emotion on you”. Plus being poor…god, theatre makes you poor! Haha!

Joel: I’m terrified of not being good enough. That’s actually something that Jeff says in the number. One of these days someone is going to work out that I’m a fraud and I can’t do all the things that I’m employed to do/say I can do and then they’ll tell everyone and I’ll be fired, never work again, all my friends will hate me and I’ll end up penniless, lonely and miserable. Or something…

Will you share with us that show idea you’ve stashed in the bottom drawer?

Alex: Well, I’m pretty excited to putting on an Adults Only Christmas Show later this year at Brisbane Powerhouse. Every year of my adult life I’ve done “friends’ christmas” where we drink and dance, and be merry. I wanted to recreate that kind of idea for theatre. I think it sucks that the only option at Christmas is to go to church! I want to do the polar opposite of that.

Will you each share how you came to be a performer and what it is that keeps you in the industry?

Lauren: I’ve been doing musicals since I was 10 years old. There’s no other industry for me.

Jack: Storytelling is such a primal part of being human, and live theatre to me is one of the most rewarding ways of being part of that, either as a performer or audience member. Live theatre is different every time. I honestly can’t think of anything cooler than 5, 10, 200 or 1000 people going into a room together and having a storytelling experience that is completely unique to that group.

Alex: I used to play in bands and – long story short – went to visit my brother living in London, saw a show in the West End and went, “Wow, music theatre can be amazing,” and then knew I wanted to get involved. I came home and started doing courses and then I scored an amazing first gig with STC.

Joel: To be honest, I rarely perform anymore. I prefer my day job as a singing teacher, with the occasional MD gig.

Favourite / challenging / exciting roles thus far?

Alex: My first job ever was also the first thing I ever auditioned for. Spring Awakening with Sydney Theatre Company, it was like being thrown into a pool and it was sink or swim…. But I loved it. The most challenging role would have to have been Mickey in Blood Brothers, emotionally such a draining and in-depth role. You basically have to put yourself though a rollercoaster every show.

Lauren: Playing two characters in Heathers was incredible- an actors dream! Tracy Turnblad in Hairspray was so challenging stamina wise (especially in arena style) but ridiculously fun! Heidi in [title of show] is definitely up there with my favourites!

Roles you covet and would kill for?

Alex: Cliff in Cabaret, Evan Hansen in Dear Evan Hansen, Anything in Book of Mormon. Plus any role that has the power to invoke thought and change in people.

Other jobs? Your first job (perhaps it wasn’t in the performing arts industry)?

Alex: Professional Uber Driver and drink slinger.

What did mum and dad want you to do? What did teachers think you would do?

Alex: My parents are incredible and always encouraged me to do whatever I wanted. My mum has been working with the ABC for 30 years now, and my parents met while my mum did drama and Dad studied photography, so the arts was pretty much always engrained in them.

What else do you want to do?

Alex: I want to help create an independent theatre scene in Brisbane. I want there to be a Brisbane Hayes. There’s no reason why there shouldn’t be.

How does everyone keep fit and maintain healthy voices?

Alex: the show for me is a huge sing. Basically, 10 years of practice and semi-okay technique. (Still a long way to go!).

Why do we wanna’ see this show (again)?

Alex: Because it’s fun, it’s moving, and it speaks to everyone who’s ever been involved in performing. It’s just very music theatre.

Jack: [title of show] speaks to anyone with even the tiniest creative bone in their body. Rehearsing this has been an experience in uncovering relatable quality after relatable quality within all four of these beautiful, twisted, genius characters. Whether you are a musical theatre fan, a theatre fan, or you’ve never even stepped foot in a theatre, you will love it as much for its relatable charm as its ridiculous comedy.

Lauren: Because it’s awesome and I have to take my top off for the first time onstage… so you don’t wanna miss that!

What’s next?

Alex: After this I go full steam into producing A Very Adult Christmas…

A sneak peak ahead of the season…

By Ruth Ridgway

Coming up in Expressions Dance Company’s 2017 season is the new work Behind Closed Doors. Choreographer Natalie Weir and the dancers explore what lies behind the façade of outward appearance, and turn the audience into voyeurs. Taking us into the private lives of hotel guests and staff, they reveal human nature in its darkness, fragility, and playfulness. Behind Closed Doors features live jazz played by the contemporary music ensemble Trichotomy.

An interview with Natalie Weir, Artistic Director of Expressions Dance Company

What inspired you to create Behind Closed Doors? Is it connected with your 2010 work While Others Sleep, which explores what happens at night in a hotel?

Yes, this is a re-visioning of While Others Sleep, taking some of the central ideas but we’ve moved into different areas this time. I’ve always been interested in voyeurism. I did a work called Insight years ago here at EDC, also with Greg Clarke, the designer. It used the Edward Hopper painting, ‘Night Windows’ as its inspiration and it was about looking through an apartment’s window. While Others Sleep in 2010 had so many ideas within it that I thought were great and I wanted to take to another level. I also wanted to work with Trichotomy again. Our audiences have grown and many have not seen the work, so why not set it in a hotel again and put it on a main stage? It has so many elements that are of interest to the audience and so many short stories within it. The audience have all stayed in a hotel and may relate to the story.

How did you and Trichotomy work together on Behind Closed Doors? Has music been especially composed for this work?

The music is part of Trichotomy’s quite extensive body of work over many years with a lot of pieces composed by Sean Foran. Sean is such an amazing person to work with – everything is easy. I felt like we really gelled when we worked together the first time. I’ve listened to a lot of his original music and this time I’ve spent a lot of time listening to his new stuff. There’s a lot of talking backwards and forwards with Sean. He alters his original music for me to match what I need, and then finds a way to blend the scenes together. Music is extremely stimulating and, because it’s jazz, it immediately sets the mood. When creating the show I imagined that Sean and the band are in the lobby playing in an expensive hotel. The music has a lot of range. It can be cool, sexy jazz but can also be very dramatic and dark. When we get into the rehearsal studio with the band they will watch the choreography and will be able to respond to the dancer in front of them – there might even be some improvisation. We’re lucky also to be joined by Rafael Karlen on Saxophone and vocalist Kristin Berardi. The great thing about these guests is that, not only are they amazing but, because they are a saxophonist and a singer, they can move around the stage and can become part of the action.

How did you and the dancers create the work? Did you create characters and a narrative for the characters, or did you follow particular themes or concepts?

Some of the characters have remained from While Others Sleep and some are quite new. I usually enter the studio with a strong idea of the characters and talk to the dancers about it – and then it’s collaboration between the dancers and me. They create a lot of the movement themselves and I direct it. They also research their characters, which is great because it takes them on a journey through the work. It’s my job to direct the dancers into the right place and to pull all the parts together. This is a big work with a lot of different parts including a set that moves and revolves, so I make sure this comes together seamlessly and keep the direction of the work moving forward. The dancers aren’t dancing what I tell them – it comes from them and then I shape it. I don’t tell them how to be a character they make that decision and own it, which makes it far more personal

The publicity for Behind Closed Doors has a ‘noir’ feel to it, but also mentions playfulness and fragility. How would you describe the balance of the moods and emotions in the work?

It is a balancing act because there are moments that are light and frivolous and others that are very dark. It’s finding a way to structure the work so that each of the moments has a time to be, but not detract from the other and that’s about finding the through line from the work from start to finish. Once you have all the parts you have to bring them together and the work has to be larger than the sum of the parts. While each part has its part as a small story and is part of the theme, it’s the strong narrative that brings it together. Some of the scenes go into the absurd and tongue-in-cheek and it wonders through the landscape of the human psyche. I think it will be very entertaining but it definitely has some depth and guts.

The publicity images of Elise May and Richard Causer in evening dress are very glamorous. Can you tell us more about the costumes and design of the work

The show is set in a very classy hotel and the costumes are designed to range from being quite real through to being quite fantastical. There are so many characters and scenes and the costumes are really important in bringing out the story and the images of the work and making us believe that the characters are real. Greg Clarke, the designer, has been influenced by the photography ofGregory Crewsden and films such asBlue Velvet and Mystery Train. There’s men’s suits, some glamorous dresses and even some underwear. And then some fantasy items that you need to see to understand! The design is really stunning. The costume design exposes the characters and helps inform the audience about who these people are and where they’re from.

The work can put the audience into the role of voyeur. How do you think they may feel about this? How has this potential audience response influenced the creation of the work?

At times the audience are like voyeurs watching something that perhaps they shouldn’t be, as if looking through a window or a door, but other times the characters really take the audience on their journey. That’s when the magic happens – the audience goes from being a voyeur to feeling like they believe in these characters and feel joy, sadness and darkness alongside them. It should be a wonderful theatrical experience for the audience because the gamut of the work is so broad from quite funny to very sad. It will be a roller-coaster ride. Isn’t that what theatre should do – transform the audience…?

Finally, what do you hope the audience takes away with them from Behind Closed Doors?

I know the audience will leave in absolute admiration at the beauty and physicality of the dancers and they will be in raptures over the incredible music played live. Having the musicians on stage playing live changes the theatrical experience. I hope the audience will recognise moments of their own lives, or someone they know within the work, and I hope they come away smiling and feeling moved. To connect to the audience is my ultimate aim. This work does not seek to alienate anyone, but to connect them. I always say that dance has the power to move people, even when you’re not sure why, and that’s its ultimate power.

Two quick questions for dancer Elise May:

What have you always wanted to know about what goes on ‘behind closed doors’ in a hotel?

As a dancer I’ve spent countless time checking in and out of hotel rooms on tour. There is a certain an allure to the homogenised hotel experience, no matter where you travel there are crisp white sheets, city views and monochrome corridors. But when you spend enough time in hotels you begin to notice the coming and going of other guests and wonder about the reasons for their stay or observe the odd hours that people keep. On occasions I have even started to project my imagination into the enclosed private spaces on the other side of the walls or behind the hotel doors… What is happening in the room beside mine? In a very identical room a very different scenario might be playing out, what could it possibly be? The inner private worlds of others has been a topic of interest in popular culture for some time. The concept of voyeurism has been featured in films such as ‘Rear Window’, ‘Minority Report’, American Beauty and countless others. For me, this fascination with the private lives of others is really an interesting starting point for a creative work and provides lots of meaty areas of exploration in terms of character development and movement creation.

Can you briefly describe your role(s) in Behind Closed Doors, and how you have prepared for them?

My role in Behind Closed Doors is that of a lonely woman who is dealing with feelings of vulnerability and loss of her recently departed husband. We see her character first in the earlier stages of their relationship when they visited the hotel on their honeymoon. The romantic getaway was one of perfection in her memory and is an experience that comes back to haunt her as she returns to the hotel after his death. In an attempt to reconcile her feelings of grief and move on with her life she travels on quite an emotional journey throughout the work. In preparing for this role physically I have experimented with many different qualities of movement from abandoned, flung, weighty movements to angular, anguished and sharp dynamics. My role also involves a lot of incredibly intricate and sculptural partner work which is Natalie Weir’s choreographic forte. In researching the role I also looked into the 5 (or 7) stages of grieving as coined by psychologist Elizabeth Kubler-Ross which can manifest as a mixture/ or ‘jumble’ of strong emotions experienced by those who face major life changes including loss, the prospect of death or the death of a loved one. Although my role deals with some very heavy content, I think Natalie’s choreography weaves these scenes and characters together in a way which is poetic and really casts a microscope or possibly even a mirror over the human condition.

Two quick questions for dancer RIchard Causer:

What is your most memorable ‘behind the scenes’ experience at a hotel?

A few years ago I worked part time in a five star luxury hotel in London called Cafe Royal. There I was privy to many behind the scenes moments. One exciting memory I have was something I thought only happened in the movies. I worked as the restaurant host and events host. We would be given a guest list of names that we would expect to arrive for certain private functions or events. As these guests arrived I realised I was welcoming many A-list celebrities who checked in under fake names. It was extremely exciting as this happened on many occasions and I would have to contain my excitement which I never did too well. Instead I would lose all use of words and just smile from ear to ear. Not subtle at all!

What has been the creative process for you, as a dancer, working with Natalie Weir as the choreographer for Behind Closed Doors?

Working with Natalie is always such a heart-warming experience. The rehearsals are always calm and everyone is very respectful and supportive of each other. Working on Behind Closed Doors has been a fun satisfying challenge, we are all working with specific characters and get to play dress ups a lot. I have enjoyed researching my character by watching some great films and reading some interesting online forums which continue to feed me with new stimulus. What is great about working with Natalie is she allows us the freedom to continue developing our roles from the beginning of the process to the very last performance.

Season continues until April 23

A door slams. A shot is fired. On the other side, unseen by the audience or by the befuddled, inconsequential husband and lovers are the three great heroines who created twentieth century drama: Miss Julie, Hedda Gabler and Nora.

What if they all landed up in the same room?

What if they couldn’t speak?

What if the room was full of scratched recordings of A Dolls House, Hedda Gabbler and Miss Julie, plus a dash of Freud?

How would they navigate each other, their own pasts and the future?

La Boite and Circa join forces on this new creation. Three masterpieces of turn-of-the-century drama meet the visceral force of extreme acrobatic theatre.

In between rehearsals we asked Nathan Boyle and Todd Kilby some STUFF…

Stretch or cardio?

NB: I’m about 75% stretch and 15% cardio. If i had to run away from something, I would be dead… Should probably change that.

TK: A healthy combination.

Base or fly?

NB: Base, although there are some times when I fly.

TK: Another deliciously healthy combination. (Middle)

Describe your weekly training routine.

NB: Every week is different, but it is generally along the lines of a 9 to 5 day except I don’t work at a desk. The first hour is a warm up. Then we move into skill training/skill development or we work with our Artistic Director. We have an hour break from 1 till 2 for lunch. Then generally have a light warm up and get back to work either working on specific skills or scenes from shows. At the end of the day we have a 30min cool down which we call ‘Body Love’

TK: My training routine will change a lot depending on where in the world I am, how long I have and what shows/skills I am doing. It usually begins with an hour long warm up consisting of some light cardio, stretches, strength and a bunch of co-ordination exercises/games (fun is very important). Then I usually train through the skills that I need to train for a specific show followed by any other skills and ideas that I am keen to learn and explore.

What if not circus? (And how did you come to it?)

NB: I have only ever done circus, So if I was no longer able to be a performer I would love to get into some sort of design. I love architecture but I also have a passion for costume/fashion design. So maybe that?

TK: If not in the circus, I would love to be involved in the worlds of both theatre and music. Working in the creative process and the performance element. I came to do circus when I was 13 through two sources at the same time. One was the guidance of a high school drama teacher and now friend, who ran a circus school and the other was at a Newcastle community circus called ‘Circus Avalon’

Favourite place in the world?

NB: Favourite place in the world would be New York.

TK: I don’t have one favourite place as that would be quite rude of me considering that this beautiful planet we are lucky to call home is host to a plenitude of magnificence, but here are three honourable mentions: NEWCASTLE (Home), BERLIN (City of my dreams), Bhutan (Carbon Negative)

What are you reading?

NB: The latest XS Entertainment piece *Wink Wink*

TK: Sombrero Fallout by Richard Brautigan

What are you listening to?

NB: I admit, I have the world’s most eclectic and somewhat bad taste in music, I will listen to anything. I basically have Spotify on random and go from there.

TK: Adagio of Spartacus and Phrygia by Aram Khachaturian.

Define feminism.

NB: That one gender should not be raised above another, they are both equal.

TK: Feminism – The advocacy for woman’s rights on the ground of the equality of the sexes.

Are there commonalities within the roles you play across the stories of Hedda Gabler, Miss Julie and Nora Helmer (A Doll’s House)?

TK: Commonalities are everywhere. I am man. I am woman. I am man/woman. I am woman/man. I am control, freedom and support. At one point I am even Hedda Gabler. This may sound confusing but through the dramaturgy of the show roles are free to exchange and create a whole.

Without dialogue, how much of the original stories & characters will we get? What’s the most important thing for us to get?

NB: There is some text, but instead of being spoon fed the plays we have used our physical bodies to encompass the roles of the women and men from the play. It’s quite obvious who the characters are as they are all so different from each other, come to the show with an active imagination and go with it from there.

TK: The characters, you will definitely get. That much is clear. As for the original stories, we have extended beyond them in time and space, whist exploring the thematics of the three plays.

What do we need to teach boys (and girls) about the roles of men (and women) in society?

NB: We need to teach everyone this. Each sex can be just as ignorant as the other. Your sex or sexuality shouldn’t define where you stand in society. If everyone is granted the same rights and same social status that question would be redundant. What a world that would be!!

TK: I’m not too sure about the ‘we’ and the ‘need’ in this question, but my view on our roles as human beings extend far beyond just boys and girls and men and women. Let’s just have care and compassion for each other regardless of gender, race, sexuality and religion. Let’s care for this planet. Let’s make people laugh. Xx